ISSUE 14 • MAY 8, 2007 • Published weekly by Global Media Development Group, Inc. • Publisher: Mark Northam • Editor: Mikael Carlsson • www.filmmusicmag.com

weeklyFILM MUSIC

MORE INSIDE:p:3 Fenton wins brits award p:6 KaCZMareK sCores ‘eVeninG’p:12 teChnoloGy: danCinG dots support blind MusiCians p:14 the sCoreboard

Bernstein resignsfrom ASCAP boardn Film Music magazine has confirmed that composer Charles Bernstein has resigned from the ASCAP Board of Directors only weeks af-ter he was elected.

The ASCAP Board selected composer Rich-ard Bellis to replace Bernstein. However, sourc-es indicate that Bellis was not next in line in terms of the number of votes received in the ASCAP Board election held only weeks ago.

Bernstein declined to answer questions from Film Music magazine about the timing and reasons for his sudden resignation, and ASCAP Senior VP Phil Crosland declined to respond to questions about the resigna-tion of Bernstein and the selection of his re-placement. ASCAP has consistently refused to release any vote counts from its election process. p:3

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From US TV to French art cinema

n American TV music icon mark snow re-cently made an unusual excursion into Euro-pean art cinema. And it was his music for hit series The X-Files and Millennium that triggered the interest of French auteur, Alain Resnais, and 84-year old filmmaker who is best known for ar cin-ema classics Hiroshima mon amour and Last Year in Marienbad.” It really was like a magnificent vacation for me. I had almost complete creative free-dom,” says mark snow, who was nominated to a Cesar Award for the score. p:8

Mark Snow is best known for his ”X-Files” music, and it reached the ears of French cinéma auteur Alain Resnais, who hired Snow to score his new film, ”Private Fears in Public Places”.

PRIVATE FEARS IN PUBLIC PLACESMark Snow

SCORE OF THE WEEK

New themes fora darker ‘Potter’n The darkness of the upcoming Harry Potter film will be reflected in the film’s score, which was recently recorded at Abbey Road Studios in London. “The themes of the film itself demand-ed a lot of fresh and different material. Two of the main themes developed were the ‘Umbridge Theme’ and the ‘Possession Theme’,” says Nich-olas Hooper in Film Music Weekly’s revealing article about the score for Harry Potter and the Order of the Phoenix. p:4

“Time passages”daniel schweiger reviews Klaus badelt’s score for Premonition and Mark isham’s

music for Next. p:10

� issue 14 • May 8, �007 weeklyFILM MUSIC

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weeklyFILM MUSICthis week on

FMRFILM MUSIC RADIO

ON THE SCORE: MYCHAEL AND JEFF DANNA

Film music journalist daniel schweiger interviews the

composing brothers Mychael and Jeff danna, who team up for the prosecution in Fracture.

INSIDE THE BUSINESS: DOUG WOOD

Join host Mark northam for an candid, in-depth interview with composer and music li-

brary owner doug wood about his asCap board candidacy and more. also hear inter-

views with dan Kimpel, John braheny and samm brown iii.

TUNE IN HERE!

OurThe Film & TV Music Awards

are the voice of the industry,

reflecting the views of the film

and television music industry at

large rather than any particular

industry organization or society.

Join the industry this year in

nominating and voting for those

people and productions who

truly represent the state of the art

in the categories of composing,

songwriting, music supervision,

orchestration, music editing,

score mixing, contracting, music

editing, performing and more.

issue 14 • May 8, �007 3weeklyFILM MUSIC

FILM MUSIC NEWS

Why so few agents?

I’ve been thinking this week about the severe shortage

of film and television music agents. With so many compos-ers in the business, admittedly an oversupply, and an expand-ing amount of programming that needs both licensed and original music and scoring, it seems to me that the profes-sions of “composer agent” or “song licensing rep” would be booming, but they aren’t.

T he number one complaint I get from composers in the

first 5-7 years of their careers is: Why can’t I get an agent? That usually stems from a desire on the part of the composer to concentrate on writing music servicing their clients, rather than marketing and drumming up new work. These compos-ers and many others would be happy to pay 10% of their income for representation.

T he few agents in the indus-try are so in demand that

many of them don’t do a lot of marketing at all, instead letting the composers go out and build relationships and get consid-ered for jobs, with the agent stepping in to send demos and negotiate the deal. And the existing agents can pick and choose only the most “market-able” of composers, leaving everyone else unrepresented.

H ere’s a message for music business programs at

our colleges and universities: rather than turn out hundreds of new composers every year into a massively oversaturated market, how about developing some courses in effective and ethical representation? There’s a huge demand for these skills, and given the huge shortage of agents, a qualified and motivat-ed agent could write their own ticket in the film and television music industry today.

Mark Northam Publisher mark@gmdgroup.com

FROM THE PUBLISHER

Film Music magazine has confirmed that composer Charles Bernstein has resigned from the ASCAP Board of Directors only weeks after he was elected.

The ASCAP Board selected com-poser Richard Bellis to replace Ber-nstein. However, sources indicate that Bellis was not next in line in terms of the number of votes re-ceived in the ASCAP Board election held only weeks ago.

Bernstein declined to answer questions from Film Music maga-zine about the timing and reasons for his sudden resignation, and ASCAP Senior VP Phil Crosland declined to respond to questions about the resignation of Bernstein and the selection of his replace-ment. ASCAP has consistently refused to release any vote counts from its election process.

In the 2007 election, as in the previous election, no independent candidates were successful in pe-titioning for a position on ballot for the ASCAP Board of Directors election. In 2001 the ASCAP Board created language that raised the number of signatures of voting writer members required for an in-dependent candidate to be listed on the ballot from 25 to now over 1,000 signatures. The ASCAP Board, re-sponsible for determining the dis-tribution of hundreds of millions of

dollars of royalties each year, works in secret and its deliberations, agenda and attendance records are not available to ASCAP members.

Several years ago the ASCAP Board, upon the resignation of score composer Mark Isham, se-lected 10th runner-up songwriter Wayland Holyfield as his replace-ment on the board rather than score composer John Cacavas who was reportedly the first runner-up in that election.

mn

Bernstein resigns from ASCAP board

THEATRICAL• 28 Weeks Later (John Murphy)• Delta Farce (James s. levine)• The Ex (edward shearmur)• Georgia Rule (John debney)• Home of the Brave (stephen endelman)

DIRECT-TO-DVD• Cadaverella (Joseph allen)• From Other Worlds (pierre Földes)• Lord Help Us (John & sean dunson)• Section 8 (Jack allen)• Swamp Zombies (russ Castella)

OPENING THIS WEEK

Charles Bernstein (left) has resigned from the ASCAP Board of Directors only weeks after he was elected. Richard Bellis (right) has replaced Bernstein.

n George Fen-ton won this year’s Classical BRIT Award, being named “Soundtrack Composer of the Year” for

the music he wrote to the BBC series Planet Earth. The two oth-er nominees were John Williams for Munich and James Newton Howard for The Village.

Fenton winsBrits Award

n The American Ballet Theatre will stage Elliot Goldenthal’s Emmy-nominated ballet Othello at the Metropolitan Opera House in New York on May 22-24 and at Dorothy Chandler Pavilion in Los Angeles on July 13-15. Gold-enthal, who is best known for his music for film such as Frida, In-terview With the Vampire and Ti-tus, wrote the ballet in 1998 and the music was released on CD by Varèse Sarabande.

Goldenthal ballet on stage in NY

4 issue 14 • May 8, �007 weeklyFILM MUSIC

FILM MUSIC NEWS

The darkness of the upcom-ing Harry Potter film will be reflected in the film’s score, which was recently recorded at Abbey Road Studios in London. Film Music Weekly spoke with composer Nicholas Hooper about the score for Harry Potter and the Order of the Phoenix.

When Warner Bros. confirmed that Nicholas Hooper was the composer hired to score the new Harry Potter film, the soundtrack community was taken by surprise. But for anyone who is aware of the films director David Yates has done before, including the TV mov-ies The Girl in the Café and Sex Traffic, the choice of composer was a natural one. Yates and Hooper have worked together on numer-ous projects. Still, it’s somewhat unusual that a director is able to retain his composer relationship when doing a transition to the world of big studio blockbusters.

“David Yates and I talked very carefully about how we should ap-proach Warner Bros,” says Nicho-las Hooper.

“First of all, we put together

good examples of work I had done on other projects for the producers in England. In consultation with them, we then put together a pal-ette of ideas for different aspects of the film which we then pre-sented to Warner Bros. This was accepted, and included one or two bigger musical ideas which even-tually got used in the final score.”

During March and April, Hoop-er and his team recorded almost two hours of music at Abbey Road Studios in London. Peter Cobbin, a score mixer whose previous cred-its include the Lord of the Rings trilogy, recorded the Chamber

Orchestra of London (around 90 players) as well as choir and elec-tronics.

“Worth particular note was a huge Taiko drum from Japan, sug-gested by my agent Darrell Alex-ander – it makes a deep sound you can actually feel,” says Nicholas Hooper.

Following in the footsteps of original Harry Potter composer John Williams, the composer used the well-known “Hedwig Theme” in his score, first in the film’s opening and then subsequently at particular dramatic moments.

“We all felt that it was essen-tial that we use John Williams’ beautiful and haunting theme as it is so strongly identified with the films,” says Nicholas Hooper. He continued, “Having worked closely with David Yates for many years, we have always tried to push the boundaries of what we do, and have often worked well in advance of the film being complet-ed. This produced a score which grew and developed organically with the film.”

Harry Potter and the Order of the Phoenix has already been de-scribed as a darker film than its predecessors. This is also reflected in the score for the film.

”The themes of the film itself demanded a lot of fresh and dif-ferent material. Two of the main themes developed were the ‘Um-bridge Theme’ and the ‘Possession Theme’,” explains Nicholas Hoop-er. “Professor Umbridge is a new central character in this fifth sto-ry, and is an apparently fluffy but cruel and increasingly mad witch who is planted in the school by the Ministry of Magic. The theme reflects her character in an insis-tent, irritating way and was great fun to write – should be a hit with ring tones! The ‘Possession Theme’ is the story of Harry’s gradual possession by Voldemort, who con-vinces him that Sirius Black, his godfather, is being tortured. It appears in various forms, at times slow but mainly with a sense of

panic, and often getting faster and faster. This searing theme was enormously rewarding to write.”

Harry Potter and the Order of the Phoenix premieres worldwide on July 17. Cast members include Daniel Radcliffe, Rupert Grint, Emma Watson, Helena Bonham-Carter, Robbie Coltrane and Ralph Fiennes. Among Nicholas Hooper’s scoring team members on the project were Alastair King, who conducted the orchestra and choir, and orchestrators Geoff Al-exander, Julian Kershaw, Bradley Miles and Simon Whiteside. The soundtrack album is scheduled to be released by Warner Bros Re-cords on July 10. mc

Hooper writes newthemes for Potter

WORK IN PROGRESS

Harry Potter – the music• Film music veteran John wil-liams composed the music for the first film in the series, Harry Potter and the Sorcerer’s Stone (�001) and the third one, Harry Potter and the Prisoner of Azkaban (�004).

• william ross adapted williams’ themes and wrote new music for the second feature, Harry Potter and the Chamber of Secrets (�00�).

• For the fourth film, Harry Potter and the Goblet of Fire (�005), scot-tish composer patrick doyle was hired to write the music.

• nicholas hooper makes his hol-lywood debut with the fifth film, Harry Potter and the Order of the Phoenix.

• the music written for the video game versions of the Harry Pot-ter movies has been written by Jeremy soule. James hannigan is doing the score for the latest game based on the new film.

Composer Nicholas Hooper at work during the ‘Harry Potter and the Goblet of Fire’ sessions at Abbey Road Studios.

Director David Yates and the big Japanese taiko drum used in the new Harry Potter score.

The Chamber Orchestra of Lon-don performs Nicholas Hooper’s Harry Potter score, recorded at Abbey Road.

issue 14 • May 8, �007 5weeklyFILM MUSIC

6 issue 14 • May 8, �007 weeklyFILM MUSIC

n Singer/com-poser Lisa Gerrard, who most notably worked with Hans Zimmer on Gladiator, is currently on tour in North Amer-

ica. Her performances will include, among other things, selections from her music writ-ten for Gladiator, The Insider and Whale Rider. The tour pre-miere was in Atlanta on May 3. Gerrard recently release a new solo album, “The Silver Tree” and also has a new music docu-mentary, Sanctuary, out on DVD. mc

Lisa Gerrardon US tour

SIGNINGS & PROJECTS

Jan a.p. Kaczmarek:Evening

n The Polish com-poser who won the 2005 Best Original Score Oscar for Finding Neverland, has recorded his music for Evening, a drama directed by

Lajos Koltai, who previously made the acclaimed Fateless, scored by Ennio Morricone. Evening tells the story about a woman who suf-fers from cancer and remembers her life – it’s a film that features a strikingly strong female cast, including Meryl Streep, Vanessa Redgrave, Claire Danes, Glenn Close and Natsha Richardson. The film is scheduled to premiere on June 29, distributed by Focus Features. Kacmarek’s score was recorded in Warsaw with the Pol-ish Radio Orchestra and piano so-loist Leszek Mozdzer. mc

Evening, a new drama featuring a strong cast including Vanessa Redgrave, Glenn Close, Meryl Streep and Claire Danes, gets a score by Jan A.P. Kaczmarek.

The hottest composers in Hollywood right now:

1 (�). John williams� (1). danny elfman3 (3). hans Zimmer4 (4). ennio Morricone5 (6). James newton howard6 (5). James horner7 (8). thomas newman9 (7). Clint Mansell10 (new). nicholas hooper11 (11). philip Glass1� (1�). Michael penn13 (13). Christopher young14 (9). howard shore15 (14). harry Gregson-williams16 (15). randy newman17 (10). John Murphy18 (new). patrick doyle19 (�0). alan silvestri�0 (17). Gustavo santaolalla

The list is based on data from Internet Movie Database’s “StarMeter”, showing “who’s popular based on the searches of millions of IMDb users”.

THE A-LIST

FILM MUSIC NEWS

issue 14 • May 8, �007 7weeklyFILM MUSIC

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8 issue 14 • May 8, �007 weeklyFILM MUSIC

TV music icon ventures into French

art cinema

SCORE OF THE WEEK

Composer Mark Snow, whose output is dominated by American TV music for shows such as “Ghost Whisperer” and “One Tree Hill”, makes an unusual excursion into French art cinema, scoring 84 year old auteur Alain Resnais’ “Public Fears in Public Spaces”.

by MiKael Carlsson

Mark, let’s begin with the most obvious question here: how did you get the opportunity to score Private Fears in Public Places – a French film by one of the finest auteurs in French cinema? I suppose Alain Resnais had heard some of your previous music?

Alain Resnais heard some of my X-Files music on French TV, and thought I would be right for his film.

So what kind of sound was the director looking for in this film? And what was it like to work with

Alain Resnais – he’s a true art cinema legend, and 84 years old! Did he have any strong opinions about music in films in general and in his films in particular?

Monsieur Resnais did not ever speak of the scores from his previous films, or mention any other film scores. He had his editor temp the film with music from the X-Files and Millennium, which obviously gave me direc-tion. He never, which is truly amazing, told me what to do and was confident that I would do the right thing!

The film is based on a play by Alan Ayckbourn – were you familiar with it before? What did you

Mark Snow’s best-known projects: 1. the X-Files (1998)�. disturbing behavior (1998)3. the X-Files (tV, 1993)4. Crazy in alabama (1999)5. ernest saves Christmas (1988)6. the boy in the plastic bubble (tV, 1976)7. helter skelter (tV, �004)8. odd Girl out (tV, �005)9. sole survivor (tV, �000)10. project: alF (tV, 1996)

source: iMdb

Mark snow is represented by the Gorfaine-schwartz agency.

THE TOP 10:MARK SNOW

MARK SNOW scores PRIVATE FEARS IN PUBLIC PLACES

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think about the story and how did it inspire you musically?

The Ayckbourn play was interesting to read, but Alain’s interpretation was truly inspired! There was a bittersweet, lonely and often oddly comical mood in the script, but it was the images in the film that were really poignant and moving. And interest-ingly enough, there was this visual theme of snow that was never mentioned in the script, that Alain used as transitional material from scene to scene.

Although you have done quite a few feature films, you are of course best known as a leading composer in US television. Can you tell me about the differences between scoring US television and working on a French feature film?

The main difference in scoring this movie and Ameri-can TV, was this great director trusted his choices so much, that there were no test screenings, he had final cut, and not ever was he concerned about the money as-pect. He is a great artist who just followed his heart. He was fearless, and just thought only of the picture without a care about ratings, studios, networks – and was free of the paranoia of ambition, almost childlike in his magi-cal, quiet approach. He never tried to explain what the music should be, he trusted that it would all be right.

Does it ever happen when you work in television that you sit there and go, “okay, time for another generic suspense sequence” - I mean, you’ve cer-tainly seen them all, haven’t you?

Yes, in TV there is being told to copy the temp, write

a generic chase or suspense, which can be tedious. Al-though, Chris Carter with the X-Files was always en-couraging me to do whatever I thought was right, includ-ing some of my twelve tone craziness! If I could work with directors like Resnais on movies like this, I would move to France or wherever to be part of that. I’m happy to say that I found that inspiration came easy on this project – working in Paris, it doesn’t get much better.

Can you tell me how you approached the score in terms of themes and orchestration? Also, where did you record it?

There was no formula to this movie, it was totally original. It really was like a magnificent vacation for me. I had almost complete creative freedom, with only a few minor notes from Alain. Since he liked my X-Files music, I did not use an orchestra or live players, but my electron-ic setup. I recorded and performed the score at a studio in Connecticut. There was a main title theme on piano that came back many times in the score with variations.

You were nominated for a Cesar award for your score to the film. Did you go to the French “Oscar” gala?

Unfortunately, I couldn’t go the Cesar cer-emony, but I accidentally found it being broadcast on cable TV. It looked very cool, a lot of great out-fits and people speaking French for some reason!

Finally, what are you working on at the moment?What am I working on now? It just doesn’t matter un-

til I can return to France and Alain Resnais. Does that sound like I’m sucking up? You bet! n

Plot outline: in paris, six people all look for love, de-spite typically having their romantic aspirations dashed at every turn. Director: alain resnais. Producer: bruno pésery Stars: lambert wilson, laura Morante, sabine azéma, isabelle Carré, andré dussolier. Production companies: soudaigne Compagnie, studio Canal, France � Cinéma, societé Francaise de production, biM.

THE FILM: PRIVATE FEARS IN PUBLIC PLACES

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10 issue 14 • May 8, �007 weeklyFILM MUSIC

• Premonition (Klaus Badelt) – Varèse Sarabande• Next (Mark Isham) - Lakeshore

by daniel sChweiGer

Time might be fleeting, but thanks to CD technology we can make its music pause, fast forward, rewind and play- the latter being the preferred way of listening to the chronology-bending power that composers Klaus Badelt and Mark Isham have mustered for the fan-tasies Premonition and Next - two alternate takes on time-skipping that share a fateful mo-mentum between them. In Premonition’s case, it’s poor Sandra Bullock who has to navigate the days between a future where her husband has perished, and a past where he’s still alive – always hoping to find a way to cheat his des-tiny. Though her cinematic journey is muddled beyond belief, Klaus Badelt’s score is worth the trip as a listen. As he’s shown in such sample-driven scores as The Recruit, Constantine and the first Pirates of the Caribbean, Badelt knows his way around dark, undulating rhythms – mood pieces which are often called upon to go for minutes without end. And while some in this CD’s case top out at over the ten-minute mark, Badelt’s command of an unrelenting, misterioso atmosphere keeps this elegiac musi-cal journey more than interesting.

There’s a sad, pleading vibe to Premonition,

sympathetic pianos and strings strikingly con-veying a lost, female soul at odds against some unfathomable rip in time. But instead of rely-ing on sampled effects to pump up the danger, Badelt’s melodies effortlessly flow into each other. It’s the kind of style that Hans Zimmer’s protégés had to perfect to match their master’s style of scoring in this fashion (a la Hannibal and The Thin Red Line). But only Zimmer’s best composers have made this seemingly amorphous approach uniquely their own. And in Premonition, Badelt’s music has a distinc-tive ebb and flow, his themes surfacing at well-placed junctures in this dark sea of notes. And this is one particularly creepy place to take a dip, where even the most haunting emotion isn’t going to escape the hands of time.

In the thoroughly entertaining Next, Nico-las Cage does so with the aid of an ability to peer two minutes into the future, beating the clock with crashing logs, cars and split-second bullet-dodging abilities. Needless to say, this isn’t a dark chic flick like Premonition, and Isham runs with the kind of muscular action tones that graced his score for Time Cop. But while that film’s director restricted Isham’s era-jumping music to continuous orchestral percussion, Lee Tamahori has given Isham a thankfully wider palette here. And Isham liter-ally runs with the opportunity, with any num-ber of breathless chase cues that find a new, intriguing momentum in a scoring world con-sumed with finding the next way to rip off John Powell’s trend-setting music to The Bourne Identity.

Mark Isham might not be able to see the fu-

ture. But he is one of the few com-posers who can move between musical styles without reveal-ing his identity, a chameleon-like ability that he’s shown from The Cooler’s crime jazz to the victo-rious sports anthem of Miracle. But you can tell Isham’s sound individually by genre, especially when it comes to his atmospheric, full-throttle scores like Kiss the Girls, Impostor and Don’t Say a Word. All share relentless percussion, mood, and big, brassy statements (the kind which echo Isham’s far more sedate life as a jazz trumpeter). This kind of adrenalin is what Next is all about. And like its hero, Isham’s mu-sic has a neat anticipation to it, counting down the stopwatch before the next chase begins.

Yet there’s sympathy to Isham’s driving suspense in Next. It’s music that captures the sound of a guy who’s too cool for school, but likable in his time-sure cockiness. And it’s un-abashed, usually big stuff, which sounds just fine when you’re trying to save the love of your life from a nuclear bomb. Like Premonition, Isham’s music is driven by a solemn tender-ness in much the same way as Badelt’s score- though the orchestral colors are far brighter. Next is chase music with a heart, fun, nail biting stuff that makes the listening minutes go by almost too fast. You always know excite-ment is around its musical corner. n

Courtesy of iFmagazine.com

Time passages with Badelt and Isham

ALBUM REVIEW

NEW SOUNDTRACKS

issue 14 • May 8, �007 11weeklyFILM MUSIC

MAY 15

• Spellbound (Miklós rózsa) – intrada

MAY 22

• Bug (brian tyler) – lionsgate (online)

• The Essential Hans Zimmer Film Music Collection (hans Zimmer) - silva

screen

• First Snow (Cliff Martinez) – superb

• Paprika (susumu hirasawa) - Milan

• Pirates of the Caribbean: At World’s End (hans Zimmer) - walt disney

• Frankenstein Vs. The Creature from Black Cove (Mel lewis) – lakeshore

MAY 29

NEW 100 Greatest Film Themes (6-Cd set, various) – silva screen

• I Capture the Castle (dario Marianelli) - Moviescore Media

JUNE 5

• Lucky You (Christopher young) – Varèse sarabande

JUNE 12

• The Lives of Others (Gabriel yared/stéphane Moucha) - Varèse sarabande

JUNE 19

• Bloodsport (paul hertzog) - perseverance

NEW Evan Almighty (John debney) – Varèse sarabande

NEW Shrek the Third (harry Gregson-williams) – Varèse sarabande

JUNE 26

• The Enforcer (Jerry Fielding) - aleph

NEW Live Free or Die Harder (Marco beltrami) – Varèse sarabande

JULY 10

• Harry Potter and the Order of the Phoenix (nicholas hooper) – warner bros

mc

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TRUESPEC

n Silva Screen Records in the UK has picked their choices for the 100 greatest film themes and will present them all in a 6-CD box coming out on May 28.

The set features recordings from the label’s extensive library

of film music recordings, kicking off with Alfred Newman’s “20th Century Fox Fanfare” and Max Steiner’s Gone With the Wind, and ending with a suite from Gustavo Santaolalla’s Brokeback Moun-tain and “Chevaliers de Sangreal” from Hans Zimmer’s The Da Vinci Code.

Also coming out from Silva Screen in May is a 2-CD set devot-ed to the film music of Hans Zim-mer, The Essential Hans Zimmer Film Music Collection. It features selections from Zimmer scores such as Gladiator, Crimson Tide, The Thin Red Line, Thelma and Louise, The Last Samuari, Hanni-bal and Pirates of the Caribbean: Dead Man’s Chest. mc

Silva Screen names100 greatest themes

1� issue 14 • May 8, �007 weeklyFILM MUSIC

TECHNOLOGY

This past week I was quoting a new Core Duo system for a blind musician in Mis-souri. In our discussions, I was introduced to a company specializing in supporting blind musicians named Dancing Dots. The name comes from how notes appear to some people with vision impairment.

by peter lawrenCe aleXander

Dancing Dots is a for-profit corporation do-ing groundbreaking work with practically zero industry recognition, and minimum support. Dancing Dots full name is Dancing Dots Braille Music Technology. It was founded in 1992 by Bill McCann, a cum laude graduate (trumpet performance major, jazz emphasis) of Philadel-phia’s University of the Arts. Get this. Mr. Mc-Cann, who’s also blind, worked for nine years for Sun Oil, where as a human systems resource analyst, he updated and designed computer pro-grams that created reports and display screens for sighted workers. Bill’s first product for Danc-ing Dots, launched in 1997, was the Goodfeel® Braille Music Translator. Goodfeel takes files from Sibelius or Finale and converts them into Braille notation. As long as you can read mu-sic notation, you can convert the music with no problems, and it supports UK formatting.

Who’s Afraid of Braille Music is a primer for both parents and educators showing how sen-sible the Braille system is for learning to read Braille music notation.

Working with a software reader program called JAWS from Freedom Scientific, Dancing Dots produces a scripts program called Cake Talking. Created by educator David Pinto, Cake Talking allows blind musicians to take advan-tage of Cakewalk’s Sonar 6. How powerful is this software? Well, consider that when it was first demonstrated in 2000 at California State University Northridge, a blind singer/song-writer, within the span of an hour, recorded the piano, guitar and bass parts for her own song and then recorded herself singing the lead vocal and three harmony parts.

Sibelius Speaking 3, ”…combines a set of sophisticated scripts for the JAWS for Windows screen reader with tutorial documents and su-perb online help. That means that blind compos-ers or arrangers can now independently transfer their creative musical ideas directly from their

mind’s ear to the printed page! Sibelius Speak-ing frees the blind composer to create music for all kinds of traditional or not-so-traditional ensembles, from string quartets, to jazz bands, symphony orchestras or (why not?) dueling tu-bas! You can print your music for any sighted person to read in the medium they recognize: conventional, staff notation.”

What very few know is that the late Ray Charles had a significant hand in developing Sibelius 3. Read what Bill McCann wrote about the first demonstration with Ray Charles, per-formed at the CSUN Technology and Persons with Disabilities conference in Los Angeles in March, 2003, “Ray charted out 32 measures of an original jazz waltz scored for four saxes and a rhythm section in front of a capacity crowd which included Stevie Wonder and Dianne Schuur. We printed out the parts, and assem-bled the band of sighted players who had been waiting outside the room. Ray told them some-thing like: ‘Now, if I made any mistakes, *play* the mistakes!’ He counted it off, the guys played it and it was perfect!”

Although Sibelius 3 has been discontinued, I called the Sibelius sales office in Walnut Creek, California (925-280-6600), and blind students can still order that version to work with Sibe-lius Talking 3.

For sequencing/digital audio software, at this time, only Cakewalk Sonar has done the work to

be used by blind musicians, 2000 of whom are Dancing Dots customers.

Professional audio card input monitors repre-sent a huge dilemna for screen readers because not all are written to the graphics standards the programs can read. As a result, in creating this Sonar 6 system, we were limited to the graph-ics of the M-Audio Delta series. (see screenshot). Even within the M-Audio card line, we could not confidently recommend the client to a Firewire 400 or 1814 because of the graphics issues.

Because graphics, there’s also enhanced sys-tem integration issues, along with anecdotal in-sights from fellow blind colleagues that weren’t always technically accurate.

This required a number of phone calls to put together a real spec for a Sonar digital audio workstation that would also work with the ac-cessibility software, especially in the midst of changing from XP to Vista. In this case, the as-signment was to develop a system that would be good for three years.

Once we finally zigzagged it through, a solid spec for blind musicians today is:• Sonar 6• Dual Core with 2GB of RAM that can be ex-panded to 4GB• Vista capable 975 motherboard with expand-ability to 8GB of RAM•XP Pro•M-Audio Delta series audio card

MUSIC TECHNOLOGY AND YOU

Dancing Dots supportblind musicians

issue 14 • May 8, �007 13weeklyFILM MUSIC

The Music Business

– Finding Your Place in the Music Business When You’re Not a Musician– International Music Publishing– Music Supervision for Film– The Musician’s Crash Course: A Practical Approach to Understanding

and Succeeding in the New Music Business– Music Marketing in the New Music Industry Era: Sales, Retail, and

Digital Distribution– Understanding Contracts and Deals in Today’s Music Industry

Music Technology

– Introduction to Logic Pro (Apple Certified)– Introduction to Pro Tools– Composing Computer-Based Electronic Music (Online)

Film Scoring

– Film Scoring Dialogues: A Seminar with Trevor Rabin– Anatomy of the Film Score: Past and Present– Orchestration I: Introduction to Instrumentation and Orchestral Usage– Orchestration III: Score Analysis and Reduction– Music Editing for Film, Television, and Beyond– Film Scoring I: Form and Function– Film Scoring III: Composing and Conducting to Picture—A Workshop– Synthestration: Producing Orchestral Music with Samplers– Survival Guide for Film and Television Composers– Composing Music for Video Games– Conducting: A Weekend Workshop for Composers– Workshop in Music Notation Using Finale

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Dancing Dots also recommends a second audio card, like Creative Labs SoundBlaster to handle the voice recognition software. According to Freedom Scientific, the JAWS software pro-gram can operate in 4GB of RAM. So if Sonar 6 is “tweaked” to handle 4GB of RAM, the blind musician can have one powerful system enabling him to run many tracks and effects at once.

To verify this, I contacted Mattias Henning-son, that amazing Swede who created the Giga memory edit, and has been instrumental in test-ing PCs and memory issues for the Vienna In-struments. In running Sonar 6 at 4GB of RAM, Mattias wrote, “I’m using a core duo, 4GB, XP32 machine right now as my main studio machine with Sonar 6 and I haven’t been able to push it over the edge performance-wise yet at least and I’ve made some quite large mixes on it ranging from sample intense projects pushing ram use to 40 track 3-hour live mixes for dvd productions involving numerous plugins.”

The next steps are mixing. Here, Mr. McCann recommends use of MIDI keyboard controllers with sliders or knobs so that MIDI mixing and editing can be done without reading the com-puter monitor. For Yamaha Motif users, there’s an online user manual created by Dancing Dots customers.

For audio, a standard hardware mixing board like those from Mackie are recommended since the blind musician can learn the board by feel and with practice, can mix as well or better than a “normie.” Besides a hardware board, a favored piece among some blind musicians is the Tascam FW1884. The FW1884 is a Firewire system that doubles as an audio card, MIDI mixer and audio mixer.

While there’s a lot happening, there’s more

to be done. Many blind users want Pro Tools, but according to Mr. McCann, it would take a $50,000 grant to create the Pro Tools Talking scripts, plus there are the ongoing upgrades.

Perhaps now that AVID owns Digidesign, M-Audio, Pinnacle and Sibelius, it might con-sider some underwriting to help others, which in turn, would help them.

Just a thought. n

14 issue 14 • May 8, �007 weeklyFILM MUSIC

Neal Acree: Juncture.Tree Adams: Keith.Mark Adler: noble son (co-composer) • the Far side of Jericho.Eric Allaman: race.John Altman: the Master builder.Craig Armstrong: the Golden age (co-composer).David Arnold: hot Fuzz.Angelo Badalamenti: the eye.Klaus Badelt: heaven and earth.Roque Baños: the last of the Just.Nathan Barr: rise • watching the detectives • hostel: part ii.Tyler Bates: the haunted world of el superbeasto • hallo-ween • day of the dead • watchmen.Jeff Beal: he was a Quiet Man • where God left his shoes • the situation.Christophe Beck: license to wed • drillbit taylor • the dark is rising. Marco Beltrami: Captivity • in the electric Mist with Confeder-ate dead • live Free or die hard. • 3:10 to yuma.Charles Bernstein: bull run • let My people Go.Terence Blanchard: talk to Me.Scott Bomar: Maggie lynn.Simon Boswell: bathory.Jason Brandt: something’s wrong in Kansas.David Bridie: Gone. Mickey Bullock: sportkill • orville.Carter Burwell: no Country for old Men.Niall Byrne: how about you.Jeff Cardoni: Firehouse dog • save Me.Sam Cardon: a house divided • the dance • Mummies.Teddy Castellucci: are we done yet?.Nick Cave: the assassination of Jesse James by the Coward robert Ford (co-composer).Nigel Clarke/Michael Csányi-Wills: the Grind.Charlie Clouser: death sentence.Elia Cmiral: the deaths of ian.Graham Collins: black Kissinger.Joseph Conlan: american pastime.Normand Corbeil: Ma fille, mon ange • boot Camp • emotional arithmetic.Jane Antonia Cornich: island of lost souls • solstice.Burkhard Dallwitz: romeo and Me • tak-ing tiger Mountain • the interrogation of harry wind • Chainsaw.Jeff Danna: Closing the ring • C7.Mychael Danna: surf’s up • Fracture.John Debney: Georgia rule • evan almighty • big stan • sin City � • sin City 3 • iron Man.Alexandre Desplat: Mr. Magorium’s wonder emporium • his dark Materials: the Golden Compass.Ramin Djawadi: Mr. brooks • Fly Me to the Moon.James Michael Dooley: daddy day Camp.Patrick Doyle: the last legion.Ludek Drizhal: life Goes on • badland.Jack Curtis Dubowsky: rock haven.Anne Dudley: the walker.Robert Duncan: butterfly on a wheel.Randy Edelman: underdog • balls of Fury • �7 dresses.Steve Edwards: Finding rin-tin-tin.Danny Elfman: the sixth element • the Kingdom.Warren Ellis: the assassination of Jesse James by the Cow-ard robert Ford (co-composer).Paul Englishby: Magicians.Tobias Enhus: paragraph 78.Ilan Eshkeri: the Virgin territories • stardust (co-composer) • straightheads • strength and honour.Evan Evans: the Mercy Man.Sharon Farber: when nietzsche wept • the tribe.Guy Farley: the Flock • the Christmas Miracle of Jonathan toomey • Knife edge • dot Com • the broken • dylan.Louis Febre: tenderness.George Fenton: Fool’s Gold.Chad Fischer: the babysitters.Robert Folk: Kung pow: tongue of Fury • Magdalene • Vivaldi.Jason Frederick: Chinaman’s Chance.John Frizzell: Careless • First born. Michael Giacchino: ratatouille.Vincent Gillioz: pray for Morning • l’ecart • séance • say it in russian.Scott Glasgow: hack! • toxic • the Gene Generation • bone dry.Philip Glass: no reservations • Cassandra’s dream.Elliot Goldenthal: across the universe.Howard Goodall: Mr bean’s holiday.Adam Gorgoni: starting out in the evening.Jeff Grace: the last winter • triggerman • i sell the dead. Harry Gregson-Williams: shrek the third • Gone, baby, Gone • Jolene • the Chronicles of narnia: prince Caspian.Rupert Gregson-Williams: i Know pronounce you Chuck and larry • bee Movie. Andrew Gross: Forfeit.Larry Groupé: resurrecting the Champ. Andrea Guerra: l’uomo di vetro.

Christopher Gunning: la Vie en rose.Steven Gutheinz: rothenburg.Richard Hartley: diamond dead.Richard Harvey: legend of King naresuan.Paul Haslinger: Gardener of eden.Alex Heffes: My enemy’s enemy.Christian Henson: scorpion.Paul Hepker: rendition (co-composer). Eric Hester: lost Mission • Frail.Tom Hiel: a plumm summer.David Hirschfelder: shake hands with the devil.Ben Holbrook: Kiss the bride.Lee Holdridge: i have never Forgotten you - the life and legacy of simon wiesenthal.Andrew Hollander: east broadway.David Holmes: ocean’s thirteen.Nicholas Hooper: harry potter and order of the phoenix.James Horner: the spiderwick Chronicles.Richard Horowitz: Genghis Khan. James Newton Howard: Michael Clayton • the waterhorse • i am legend.Terry Huud: plaguers.Alberto Iglesias: savage Grace • her Majestic Minor.Mark Isham: pride and Glory • reservation road • Gracie.Steve Jablonsky: d-war • transformers.Corey Allen Jackson: God’s ears • ogre.James Jandrisch: american Venus.Adrian Johnston: sparkle • becoming Jane.Bobby Johnston: american Fork • stuck.Tim Jones: Cryptid.Trevor Jones: Fields of Freedom.David Julyan: outlaw.

Jan A.P, Kaczmarek: evening.John Kaefer: room service (co-com-poser).Matthew Kajcienski: room service (co-composer). George Kallis: highlander: the source • antigravity.Tuomas Kantelinen: Quest for a heart • the Knight templar • Mongol.Laura Karpman: Man in the Chair • out at the wedding.Rolfe Kent: Fred Claus • spring break in bosnia • sex and death 101.Mark Kilian: rendition (co-composer).David Kitay: because i said so • shanghai Kiss.Harald Kloser: 10,000 bC.

Penka Kouneva: the third nail • richard iii.Ivan Koutikov: wanted undead or alive • living hell.Aryavarta Kumar: the rapture •Christopher Lennertz: this Christmas • the Comebacks.Sondre Lerche: dan in real life.James S. Levine: delta Farce.Michael A. Levine: adrift in Manhattan.Andrew Lockington: step • how she Move • Journey 3-d.Joseph LoDuca: bar starz • My name is bruce • ocean of pearls • boogeyman �.Henning Lohner: in the name of the King: a dungeon siege tale.Steve London: decoys �: alien seduction • Kaw.Helen Jane Long: surveillance.Erik Lundborg: absolute trust.Deborah Lurie: spring breakdown.Mark Mancina: sheepish • august rush • Camille • without a badge • like dandelion dust.Harry Manfredini: dead and Gone • that’s amore.David Mansfield: Carnaval de sodoma • then she Found Me • the Guitar.Dario Marianelli: we are together • Goodbye bafana • atone-ment • shrooms • the brave one.Cliff Martinez: First snow • Vice.John McCarthy: the stone angel.Joel McNeely: Fox and the hound ii • the tinkerbell Movie.Nathaniel Mechaly: sans moi.Alan Menken: enchanted • the Frog princess. Guy Michelmore: doctor strange.Randy Miller: last time Forever • shanghai red.Robert Miller: teeth • the Key Man.Charlie Mole: Fade to black • i really hate My Job • st. trinian’s.Deborah Mollison: infinite Justice.Paul Leonard-Morgan: popcorn.Andrea Morricone: raul – diritto di uccidere • Veronica decides to die.Mark Mothersbaugh: Mama’s boy • Quid pro Quo • Fanboys.John Murphy: sunshine • �8 days later.Peter Nashel: wedding daze.Blake Neely: elvis and anabelle.Roger Neill: take • scar.Randy Newman: leatherheads.Thomas Newman: nothing is private.Marinho Nobre: left for dead.Julian Nott: heavy petting.Paul Oakenfold: Victims • nobel son (co-composer).

Dean Ogden: oranges.John Ottman: the invasion • Fantastic Four: rise of the silver surfer.John Paesano: shamrock boy.Heitor Pereira: illegal tender • blind dating • suburban Girl.Barrington Pheloung: and when did you last see your Father?.Leigh Phillips: the legend trip.Nicholas Pike: the shooter.Douglas Pipes: trick r’ treat.Steve Porcaro: the wizard of Gore • Cougar Club.Rachel Portman: the Feast of love.John Powell: the bourne ultimatum • horton hears a who.Michael Price: sugarhouse lane.Trevor Rabin: national treasure �: the book of secrets • Get smart.Didier Lean Rachou: how to rob a bank • an american in China • Moving Mcallister.A.R. Rahman: the Golden age (co-composer).Brian Ralston: Graduation • 9/tenths.Jasper Randall: Me & you, us, Forever.Brian Reitzell: 30 days of night.Joe Renzetti: 39 • universal signs.Graeme Revell: Marigold.Graham Reynolds: i’ll Come running.Carmen Rizzo: the power of the Game.Matt Robertson: the Forest.Philippe Rombi: angel.Jeff Rona: whisper.Brett Rosenberg: the skeptic.William Ross: september dawn.Hitoshi Sakamoto: romeo x Juliet.H. Scott Salinas: strictly sexual • what we did on our holidays.Brian Satterwhite: Cowboy smoke.Mark Sayfritz: until death.sake.Brad Sayles: the bracelet of bordeaux.Lalo Schifrin: rush hour 3. Marc Shaiman: hairpsray • slammer • the bucket list.Theodore Shapiro: Mr woodcock • the Mysteries of pitts-burgh • the Girl in the park.Edward Shearmur: 88 Minutes • the ex • dedication • the other boleyn Girl. Howard Shore: eastern promises.Ryan Shore: the Girl next door • numb.Carlo Siliotto: la Misma luna • the ramen Girl.Alan Silvestri: beowulf.BC Smith: Greetings from the shore.Jason Solowsky: 110%: when blood, sweat and tears are not enough • the deepening • l.a takedown • unemployed • north by el norte.Mark Hinton Stewart: Man from earth.Marc Streitenfeld: american Gangster.William T. Stromberg: tV Virus.Mark Suozzo: the nanny diaries.John Swihart: the brothers solomon.Johan Söderqvist: walk the talk.Joby Talbot: son of rambow.Frederic Talgorn: asterix at the olympic Games • largo winch • dragon hunters.Francois Tétaz: rogue.Mark Thomas: Moondance alexander • tales of the riverbank.tomandandy: the Koi Keeper.Pinar Toprak: blue world • dark Castle • serbian scars.Jeff Toyne: shadow in the trees • the third eye.Thanh Tran: Cult. Ernest Troost: Crashing.Brian Tyler: bug • time to Kill • war • Finishing the Game • alien vs. predator � • John rambo.Shigeru Umebayashi: a simple love story.Johan van der Voet: Clocking paper.John Van Tongeren: war Games � - the dead Code Waddy Wachtel: strange wilderness.Michael Wandmacher: the Killing Floor • Man of two havanas.Nathan Wang: daddy’s little Girl • the Final season.Stephen Warbeck: Killshot • Flawless • Miguel and william.Craig Wedren: the ten.Cody Westheimer: benny bliss and the disciples of Great-ness.John Clifford White: Macbeth.Alan Williams: angst • snow princess • he love her, she loves him not.David Williams: the Conjuring.John Williams: indiana Jones iV • lincoln.Tim Williams: afterthought • a dog’s breakfast.Debbie Wiseman: Flood.Lyle Workman: superbad.Alex Wurman: the nines • the baker • bernard and doris • baggage.Gabriel Yared: Manolete • 1408.Geoff Zanelli: delgo.Marcelo Zarvos: the air i breathe • you Kill Me.Aaron Zigman: the Martian Child • Good luck Chuck • Jane austen book Club.Hans Zimmer: pirates of the Caribbean: at world’s end • the simpsons.

Film Music Weekly only lists scoring assignments that have been confirmed to us by official sources. The list is limited to feature film scoring assignments. New additions are highlighted in orange print. Edited by Mikael Carlsson. Updates should be sent to editor@filmmusicweekly.com.

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